Ennuyee

Related to Ennuyee: Ulterior motive, GO-ER

En`nuy`ee´


n.1.A woman affected with ennui.
References in periodicals archive ?
Mais, du moment que la Parisienne a conquis quelqu'un, comme Don Juan, ennuyee, elle abandonne la victime seduite.
Walter Herbert terms it, inaugurated by Germaine de Stael's 1809 Corinne; or, Italy, and Anna Jameson's 1826 Diary of an Ennuyee, both of which Sophia read as a teenager (Herbert 215).
C'est une filie brisante, indomptable, ennuyee, tres virile sous des dehors charmeurs, et qui, me sachant doux et devinant que je souffre pour sa chere personne, me dedaigne quelque peu.
"l'eclair brille, les vents sifflent, le feu du ciel agite les nues ; il les ebranle d'une maniere horrible ; on eut dit que la nature, ennuyee de ses ouvrages, fut prete a confondre tous les elements, pour les contraindre a des formes nouvelles".
Jameson, Anna Brownell, The Loves of the Poets, by the author of "The Diary of an Ennuyee." Vol.
Though she cannot understand or analyze it, Elisa is vaguely aware of her disorder: "Elisa did not say that she was sick, she said she was bothered (elle se disait ennuyee): using this undefined word which, in popular speech, hints at ...
Nugent, Physician at Bath." (6) Although not a poem, another vastly influential work, written only a year before Jewsbury's note, was Anna Jameson's Diary of an Ennuyee (1826).
Je ne puis encore bien prendre mon parti d'etre seule ici, si seule, si tristement, si ennuyee. (137) L'epouse de Lamartine considere alors ce sejour inattendu a Beyrouth comme une "terrible epreuve": "[Mon chagrin] a ete plus fort que je ne saurais le dire, et il y a des moments ou je n'en suis pas maitresse" (143).
A concern for legitimizing prose fiction seems clearly a part of Shelley's 1826 published attack on Anna Brownwell Jameson's Diary of an Ennuyee (1826), in which she states: "Fiction must contain no glaring improbability, and yet it must never divest itself of a certain idealism, which forms its chief beauty." (7) At the heart of what Shelley calls her "hypercriticism" of Jameson's Diary, a work she admits has "great spirit and great enthusiasm," is a concern for distinguishing morally edifying fiction from cheap trickery (355).
Among the most vivid descriptions of the kind of improvisatory performance with which Italian extempore poets dazzled and enthralled their audiences in the eighteenth and nineteenth centuries is one which the Anglo-Irish writer Anna Jameson included in her Diary of an Ennuyee:
Comparons ces deux observations antithetiques dans la meme Lettre III, de Claire a Elise, sa confidente : " Je suis seule, il est vrai, mon Elise, mais non pas ennuyee ; je trouve assez d'occupation aupres de mes enfants, et de plaisir dans mes promenades, pour remplir mon temps " (18), et " Elise, le monde m'ennuie, je n'y trouve rien qui me plaise " (20).
(6) Chloe Chard, Pleasure and Guilt on the Grand Tour (Manchester: Manchester University Press, 1999), cites Anna Jameson responding to the immensity of the Bay with 'that indefinite sensation of excitement [...] quickening every pulse and thrilling through every nerve' (Diary of an Ennuyee (1826), pp.